Advertisement

Animation

  • David Davies
Chapter

Abstract

I begin by asking what it is for a moving image to be animated, and thus, what it is for something to be an instance of animated cinema. I next distinguish different kinds of cinematic animation, and explore why, traditionally, so little philosophical attention has been paid to animated cinema per se, and why recent developments in cinematic technology have begun to remedy this deficiency. I comment here on the exchange between Stanley Cavell and Alexander Sesonske over the status of animated movies. I then examine certain epistemological dimensions of animated cinema, and look at the conditions under which animated cinema can be art. I conclude by reflecting on the significance of the use of digital technology in the production of animated cinema.

Keywords

Animation Animation techniques Digital technology Appreciation Animation as art 

Bibliography

  1. Arnheim, Rudolph. 1957. Film as Art. Berkeley: University of California Press.Google Scholar
  2. Baxandall, Michael. 1985. Patterns of Intention. New Haven: Yale University Press.Google Scholar
  3. Bazin, André. 1967. What Is Cinema? Vol 1. Trans. H. Gray. Berkeley: University of California Press.Google Scholar
  4. BBC. 2017. Documentary on the Making of Loving Vincent. https://www.bbc.com/news/av/41422698/loving-vincent-the-first-fully-painted-film. Accessed 28 Sep 2017.
  5. Bell, Clive. 1913. Art. London: Chatto and Windus.Google Scholar
  6. Bordwell, David, and Kristin Thompson. 1997. Film Art: An Introduction. 5th ed. London: McGraw Hill.Google Scholar
  7. Carroll, Noël. 1988. Philosophical Problems of Classical Film Theory. Princeton: Princeton University Press.Google Scholar
  8. ———. 1998. A Philosophy of Mass Art. Oxford: Clarendon Press.Google Scholar
  9. Cavell, Stanley. 1971. The World Viewed. Cambridge, MA: Harvard University Press.Google Scholar
  10. ———. 1979. The World Viewed: Enlarged Edition. Cambridge, MA: Harvard University Press.Google Scholar
  11. Currie, Gregory. 1989. An Ontology of Art. New York: St Martin’s Press.CrossRefGoogle Scholar
  12. ———. 1995. Image and Mind: Film, Philosophy, and Cognitive Science. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  13. Davies, David. 2004. Art as Performance. Oxford: Blackwell.CrossRefGoogle Scholar
  14. ———. 2009. On the Very Idea of ‘Outsider Art. British Journal of Aesthetics 49 (1): 25–41.CrossRefGoogle Scholar
  15. Gaut, Berys. 1997. Film Authorship and Collaboration. In Film Theory and Philosophy, ed. Richard Allen and Murray Smith, 149–172. Oxford: Clarendon Press.CrossRefGoogle Scholar
  16. ———. 2010. A Philosophy of Cinematic Art. Cambridge: Cambridge University Press.CrossRefGoogle Scholar
  17. Kaufman, Charlie. 2015. Interview about Anomalisa Broadcast on December 22nd 2015 on the NPR Programme Fresh Air. http://www.npr.org/2015/12/22/460632027/frame-by-frame-filmmakers-make-the-mundane-miraculous-in-anomalisa. Accessed 30 Oct 2017.
  18. Lessing, Alfred. 1965. What Is Wrong with a Forgery? The Journal of Aesthetics and Art Criticism 23 (4): 461–471.CrossRefGoogle Scholar
  19. Levinson. 1998. Evaluating Music. In Musical Worlds, ed. Philip Alperson, 93–107. College Park: Penn State Press.Google Scholar
  20. Linklater, Richard. 2001. Interview with Spence D. on A Waking Life. http://ca.ign.com/articles/2001/10/20/interview-with-richard-linklater. Accessed 3 Sep 2017.
  21. Livingston, Paisley. 2009. In The Routledge Companion to Philosophy and Film, ed. Carl Plantinga. London/New York: Routledge.Google Scholar
  22. Manovich, Lev. 1995. What Is Digital Cinema? Published Online in 1995. Accessed at http://manovich.net on 1 Nov 2010. No pagination.
  23. Maynard, Patrick. 1997. The Engine of Visualization: Thinking Through Photography. Ithaca: Cornell University Press.Google Scholar
  24. Mitchell, William J. 1992. The Reconfigured Eye: Visual Truth in the Post-Photographic Era. Cambridge, MA: MIT Press.Google Scholar
  25. Schmerheim, Philip. 2014. Scepticism. In The Routledge Encyclopedia of Film Theory, ed. Edward Branigan and Warren Buckland, 413–419. London/New York: Routledge.Google Scholar
  26. Scruton, Roger. 1983. Photography and Representation. In The Aesthetic Understanding: Essays in the Philosophy of Art and Culture. London/New York: Methuen.Google Scholar
  27. Sesonske, Alexander. 1974. Review of Stanley Cavell, The World Viewed. The Georgia Review 28 (4): 561–570.Google Scholar
  28. Shiner, Larry. 1994. ‘Primitive Fakes,’ ‘Tourist Art,’ and the Ideology of Authenticity. The Journal of Aesthetics and Art Criticism 52 (2): 225–234.CrossRefGoogle Scholar
  29. Sparshott, Francis. 1985. Basic Film Aesthetics. In Film Theory and Criticism, ed. Gerald Mast and M. Cohen, 3rd ed. New York: Oxford University Press.Google Scholar
  30. Talbot, William Henry Fox. 1844. The Pencil of Nature. London: Longman, Brown, Green, and Longmans.Google Scholar
  31. Wells, Paul. 2002. Animation: Genre and Authorship. London: Wallflower Press.Google Scholar
  32. ———. 2006. Fundamentals of Animation. Lausanne: AVA.Google Scholar
  33. Wikipedia. 2017. Animation. Accessed 15 Aug 2017.Google Scholar

Copyright information

© The Author(s) 2019

Authors and Affiliations

  • David Davies
    • 1
  1. 1.McGill UniversityMontrealCanada

Personalised recommendations